DESCRIPTION POSTER presented at the 39th International Symposium on Archaeometry, Leuven, May 28-... more DESCRIPTION POSTER presented at the 39th International Symposium on Archaeometry, Leuven, May 28-June 1st 2012.
Virtual Retrospect 2013, éd. par R. Vergnieux et C. Delevoie, Bordeaux., 2015
Sculpted around 1240/50, the Royal portal constitutes the main entrance to the cathedral of Borde... more Sculpted around 1240/50, the Royal portal constitutes the main entrance to the cathedral of Bordeaux. The recent restoration (2011-2013) discovered beneath a modern ochre distemper significant rests of the original 13th century polychromy, concentrated in the tympanum and the archivolts. In order to obtain a reliable idea of what the sculptures originally looked like, three of the statues of the Royal portal, the polychromy of which is well preserved, have been digitalized by photogrammetry, and their 3D model has been coloured on the evidence of the results of physico-chemical analyses. One of these three statues/ models is presented here in detail.
Although no paintings are associated with archaeological contexts before the end of the Middle St... more Although no paintings are associated with archaeological contexts before the end of the Middle Stone Age, hundreds of ochre pieces were discovered on numerous southern African sites suggesting a lasting tradition of ochre use. The variability and the significance of ochre exploitation remain however poorly documented. The MSA site of Diepkloof Rock Shelter (Western Cape Province, South Africa) offers an ideal opportunity to discuss questions of ochre procurement, processing, and use over a long sequence. This study develops an original methodology based on observations on one hand, and SEM-EDS, XRD and Raman spectrometry analyses on the other hand. By comparing raw materials with our geological database, we show that some iron-rich raw materials were collected more than 20 km from the site. Such long-distance procurement combined with other elements of the overall context suggests a planning of procurement. One main chaîne opératoire based on grinding was identified at Diepkloof. In comparison with other South African sites, we observed no evidence for use as loading agent in adhesives. We conclude that ochre use may follow regional cultural patterns.► Ochre is continuously found throughout the MSA sequence of Diepkloof Rock Shelter. ► Some of the pieces were collected more than 20 km from the site. ► Fine-grained and iron-rich raw materials were probably selected by MSA people. ► In contrast with variation in lithic technology, ochre was mainly processed by grinding. ► Comparisons with other sites show that ochre was used for different purposes.
A number of ochre pieces were found from the Middle Stone Age (MSA) in southern Africa, leading t... more A number of ochre pieces were found from the Middle Stone Age (MSA) in southern Africa, leading to recent debates about the use of this material. The relevant question behind such a debate lies in the role of ochre in early modern human societies. Technical, socio-economical and symbolic aspects might be associated with ochre processing and use. Ochre pieces showing signs of use-wear found on MSA sites are the main witnesses of such activities. That is why our work has focused on the study of ochre pieces, especially on the issue of the raw material selection. The relevance of non-destructive methods in order to determine the mineralogical nature of ochre is discussed here. Scanning electron microscopyenergy-dispersive X-ray spectroscopy (SEM-EDS) and X-ray diffraction (XRD) analyses were used. Based on careful considerations of the association of different features, such as the elementary composition or the fabric, we showed that under certain conditions surface analyses are very useful to assign samples into mineralogical categories.
The article describes the construction and function of an apparatus which ensures a regular flow ... more The article describes the construction and function of an apparatus which ensures a regular flow of air with a given concentration of gases constituting air pollution (S02, N02) and of humidity at constant temperatures over a period of up to six weeks. The data are recorded by computer and can be used for statistical analysis. In the central chamber (130 liters) about 100 sheets of A4 paper can be treated so as to imitate and accelerate their exposure to highly pol¬luted air.
Mass deacidification treatments are used as a preventive measure against deterioration of paper-b... more Mass deacidification treatments are used as a preventive measure against deterioration of paper-based cultural property. There are many criteria for the selection of a good mass deacidification method, for example, pH or alkaline reserve level, toxicity, odour, cost and so on. One of the criteria discussed in this paper is the homogeneity of mass deacidification treat¬ments in current use. Since the acidification of books does not occur in a homogeneous manner, can homogeneity be considered a good criterion? What are the differences, from this point of view, between a vapour phase method (diethyl zinc) and liquid methods such as methoxy ethoxy methyl magnesium carbonate or the FMC process? The authors show the results of measurements by flame atomic absorption spectrometry (AAS) of the concentration levels of magnesium or zinc found in different locations on sheets of paper treated by these three methods.
Decorative Techniques in the Archaic Pottery of Amathus Fruit of collaboration between EFA and UM... more Decorative Techniques in the Archaic Pottery of Amathus Fruit of collaboration between EFA and UMR 5060 of CNRS, the programme of study of the ancient Amathusian pottery concerned various aspects of the craft, from the use of raw materials to the techniques for making vases. This article deals with methods of decoration, specifically three typically Amathusian styles: ‘Blackened’, ‘Bichrome Amathusian’ and an imitation of the black-figure technique. The scientific analyses throw into relief the expertise of Amathusian potters and painters who, by playing with a number of simple techniques, notably firing methods, successfully renewed the Cypriot repertoire without breaking free of the traditional manufacturing methods.
In the framework of a interregional project on romanesque mural paintings in Pyreneas, we have ta... more In the framework of a interregional project on romanesque mural paintings in Pyreneas, we have take advantage of a restauration campaign of the mural paintings (xnth C.) of the church of Vais (Ariège, France), to get some microsamples of the paintings in order to study the materials employed (pigments, organic binders, mortars), to identify the alterations, collect datas on the microclimate (temperature, relative humidity) in which the paintings are conserved and the documentation on ancient and recent restorations. A 3D modelization was choosen for the presentation of the results. The model was based on a tacheometric plotting of the absid of the church and on photographies of the paintings in the vault. The objective was to associate the virtual image to the whole informations (physico-chemical analysis, iconography, alterations, conservation treatments) to get, in fact, a data base, updatable depending of the new informations collected by the partners of the different disciplines...
All areas involved by heritage protection are concerned by infestation problems. Historical build... more All areas involved by heritage protection are concerned by infestation problems. Historical buildings and their collections show more significant problems due to the difficulty in intervening in situ and the fact that, quite often, artefacts cannot be conveyed or disassembled. Environment of such areas is, quite often, favourable to the development of insects and moulds. Attacks to materials, especially wood, require disinfestation by chemical treatments. Frequently, furniture disinfestation within the framework of historical monuments has effects on decoration elements. Especially, wall paintings include pigments and reactive gildings. It was of the highest importance to study, on selected samples, the effect of the fumigation treatments on these units of our heritage.
A Al lt te er ra at ti io on n o of f g gi il ld di in ng gs s o on n m me ed di ia ae ev va al l... more A Al lt te er ra at ti io on n o of f g gi il ld di in ng gs s o on n m me ed di ia ae ev va al l m mu ur ra al l p pa ai in nt ti in ng gs s
La mise en oeuvre d'un certain nombre de techniques d'observation et d'analyse (imagerie sous UV,... more La mise en oeuvre d'un certain nombre de techniques d'observation et d'analyse (imagerie sous UV, MEB/EDS, spectrométrie Raman, IRTF, spectrofluorimétrie…) a permis de montrer que les dorures à la feuille d'or, d'argent et d'étain étaient très présentes dans les peintures murales médiévales du Sud-Ouest de la France. Ces dorures souvent localisées sur les auréoles des personnages, notamment celle du Christ ou de la Vierge, vont s'étendre à de nombreux motifs, formes et objets au cours des siècles. En effet si, entre le xii e et le xiv e siècle, la dorure à la feuille reste discrète, pour les xv e et xvi e siècles, les techniques d'applications se diversifient et se multiplient.Une étude archéométrique a été menée plus précisément sur trois types de décors métalliques : le sgraffito, le zwischgold et le brocart appliqué, du point de vue des matériaux employés, des techniques d'application, de leur organisation et de leur localisation au sein des peintures.Les analyses ont montré que le zwischgold (or sur étain ou argent sur étain) était préféré pour des motifs en reliefs (étoiles, broches, soleils). La cire était utilisée pour les modeler et de leur donner du relief. Le sgraffito et le brocart appliqué permettaient de simuler de riches étoffes en imitant les motifs des tissus à l'aide de feuilles d'or appliquées ou non sur des feuilles d'étain, parfois recouvertes de glacis ou de pigments. L'emploi de ces métaux et techniques s'explique par des raisons techniques, économiques, symboliques ou par souci de réalisme. La feuille d'or, déposée selon différentes techniques, enrichissait les scènes iconographiques.
Due to the lack of availability of raw materials, the blue colour is little used before the 12 th... more Due to the lack of availability of raw materials, the blue colour is little used before the 12 th century in medieval mural paintings. The pallet consists of more accessible pigments such as black (calcination of organic materials), white (lime), and the various nuances from yellow to red obtained with ochre. When blues were used, they were imported from Germany (azurite) or Afghanistan (lapis lazuli). This made these colouring materials expensive and they were reserved for important zones of the painting. The blue colour changes its status in the 12 th century. It settles, in iconography, as the colour of the mantle of the Virgin, which in return conferred to this colour a particular symbolic value. The use and choice of blue pigments was guided by economic constraints, local availability and, naturally, iconographic choices (symbolic relationships, hierarchy of colours).
DESCRIPTION POSTER presented at the 39th International Symposium on Archaeometry, Leuven, May 28-... more DESCRIPTION POSTER presented at the 39th International Symposium on Archaeometry, Leuven, May 28-June 1st 2012.
Virtual Retrospect 2013, éd. par R. Vergnieux et C. Delevoie, Bordeaux., 2015
Sculpted around 1240/50, the Royal portal constitutes the main entrance to the cathedral of Borde... more Sculpted around 1240/50, the Royal portal constitutes the main entrance to the cathedral of Bordeaux. The recent restoration (2011-2013) discovered beneath a modern ochre distemper significant rests of the original 13th century polychromy, concentrated in the tympanum and the archivolts. In order to obtain a reliable idea of what the sculptures originally looked like, three of the statues of the Royal portal, the polychromy of which is well preserved, have been digitalized by photogrammetry, and their 3D model has been coloured on the evidence of the results of physico-chemical analyses. One of these three statues/ models is presented here in detail.
Although no paintings are associated with archaeological contexts before the end of the Middle St... more Although no paintings are associated with archaeological contexts before the end of the Middle Stone Age, hundreds of ochre pieces were discovered on numerous southern African sites suggesting a lasting tradition of ochre use. The variability and the significance of ochre exploitation remain however poorly documented. The MSA site of Diepkloof Rock Shelter (Western Cape Province, South Africa) offers an ideal opportunity to discuss questions of ochre procurement, processing, and use over a long sequence. This study develops an original methodology based on observations on one hand, and SEM-EDS, XRD and Raman spectrometry analyses on the other hand. By comparing raw materials with our geological database, we show that some iron-rich raw materials were collected more than 20 km from the site. Such long-distance procurement combined with other elements of the overall context suggests a planning of procurement. One main chaîne opératoire based on grinding was identified at Diepkloof. In comparison with other South African sites, we observed no evidence for use as loading agent in adhesives. We conclude that ochre use may follow regional cultural patterns.► Ochre is continuously found throughout the MSA sequence of Diepkloof Rock Shelter. ► Some of the pieces were collected more than 20 km from the site. ► Fine-grained and iron-rich raw materials were probably selected by MSA people. ► In contrast with variation in lithic technology, ochre was mainly processed by grinding. ► Comparisons with other sites show that ochre was used for different purposes.
A number of ochre pieces were found from the Middle Stone Age (MSA) in southern Africa, leading t... more A number of ochre pieces were found from the Middle Stone Age (MSA) in southern Africa, leading to recent debates about the use of this material. The relevant question behind such a debate lies in the role of ochre in early modern human societies. Technical, socio-economical and symbolic aspects might be associated with ochre processing and use. Ochre pieces showing signs of use-wear found on MSA sites are the main witnesses of such activities. That is why our work has focused on the study of ochre pieces, especially on the issue of the raw material selection. The relevance of non-destructive methods in order to determine the mineralogical nature of ochre is discussed here. Scanning electron microscopyenergy-dispersive X-ray spectroscopy (SEM-EDS) and X-ray diffraction (XRD) analyses were used. Based on careful considerations of the association of different features, such as the elementary composition or the fabric, we showed that under certain conditions surface analyses are very useful to assign samples into mineralogical categories.
The article describes the construction and function of an apparatus which ensures a regular flow ... more The article describes the construction and function of an apparatus which ensures a regular flow of air with a given concentration of gases constituting air pollution (S02, N02) and of humidity at constant temperatures over a period of up to six weeks. The data are recorded by computer and can be used for statistical analysis. In the central chamber (130 liters) about 100 sheets of A4 paper can be treated so as to imitate and accelerate their exposure to highly pol¬luted air.
Mass deacidification treatments are used as a preventive measure against deterioration of paper-b... more Mass deacidification treatments are used as a preventive measure against deterioration of paper-based cultural property. There are many criteria for the selection of a good mass deacidification method, for example, pH or alkaline reserve level, toxicity, odour, cost and so on. One of the criteria discussed in this paper is the homogeneity of mass deacidification treat¬ments in current use. Since the acidification of books does not occur in a homogeneous manner, can homogeneity be considered a good criterion? What are the differences, from this point of view, between a vapour phase method (diethyl zinc) and liquid methods such as methoxy ethoxy methyl magnesium carbonate or the FMC process? The authors show the results of measurements by flame atomic absorption spectrometry (AAS) of the concentration levels of magnesium or zinc found in different locations on sheets of paper treated by these three methods.
Decorative Techniques in the Archaic Pottery of Amathus Fruit of collaboration between EFA and UM... more Decorative Techniques in the Archaic Pottery of Amathus Fruit of collaboration between EFA and UMR 5060 of CNRS, the programme of study of the ancient Amathusian pottery concerned various aspects of the craft, from the use of raw materials to the techniques for making vases. This article deals with methods of decoration, specifically three typically Amathusian styles: ‘Blackened’, ‘Bichrome Amathusian’ and an imitation of the black-figure technique. The scientific analyses throw into relief the expertise of Amathusian potters and painters who, by playing with a number of simple techniques, notably firing methods, successfully renewed the Cypriot repertoire without breaking free of the traditional manufacturing methods.
In the framework of a interregional project on romanesque mural paintings in Pyreneas, we have ta... more In the framework of a interregional project on romanesque mural paintings in Pyreneas, we have take advantage of a restauration campaign of the mural paintings (xnth C.) of the church of Vais (Ariège, France), to get some microsamples of the paintings in order to study the materials employed (pigments, organic binders, mortars), to identify the alterations, collect datas on the microclimate (temperature, relative humidity) in which the paintings are conserved and the documentation on ancient and recent restorations. A 3D modelization was choosen for the presentation of the results. The model was based on a tacheometric plotting of the absid of the church and on photographies of the paintings in the vault. The objective was to associate the virtual image to the whole informations (physico-chemical analysis, iconography, alterations, conservation treatments) to get, in fact, a data base, updatable depending of the new informations collected by the partners of the different disciplines...
All areas involved by heritage protection are concerned by infestation problems. Historical build... more All areas involved by heritage protection are concerned by infestation problems. Historical buildings and their collections show more significant problems due to the difficulty in intervening in situ and the fact that, quite often, artefacts cannot be conveyed or disassembled. Environment of such areas is, quite often, favourable to the development of insects and moulds. Attacks to materials, especially wood, require disinfestation by chemical treatments. Frequently, furniture disinfestation within the framework of historical monuments has effects on decoration elements. Especially, wall paintings include pigments and reactive gildings. It was of the highest importance to study, on selected samples, the effect of the fumigation treatments on these units of our heritage.
A Al lt te er ra at ti io on n o of f g gi il ld di in ng gs s o on n m me ed di ia ae ev va al l... more A Al lt te er ra at ti io on n o of f g gi il ld di in ng gs s o on n m me ed di ia ae ev va al l m mu ur ra al l p pa ai in nt ti in ng gs s
La mise en oeuvre d'un certain nombre de techniques d'observation et d'analyse (imagerie sous UV,... more La mise en oeuvre d'un certain nombre de techniques d'observation et d'analyse (imagerie sous UV, MEB/EDS, spectrométrie Raman, IRTF, spectrofluorimétrie…) a permis de montrer que les dorures à la feuille d'or, d'argent et d'étain étaient très présentes dans les peintures murales médiévales du Sud-Ouest de la France. Ces dorures souvent localisées sur les auréoles des personnages, notamment celle du Christ ou de la Vierge, vont s'étendre à de nombreux motifs, formes et objets au cours des siècles. En effet si, entre le xii e et le xiv e siècle, la dorure à la feuille reste discrète, pour les xv e et xvi e siècles, les techniques d'applications se diversifient et se multiplient.Une étude archéométrique a été menée plus précisément sur trois types de décors métalliques : le sgraffito, le zwischgold et le brocart appliqué, du point de vue des matériaux employés, des techniques d'application, de leur organisation et de leur localisation au sein des peintures.Les analyses ont montré que le zwischgold (or sur étain ou argent sur étain) était préféré pour des motifs en reliefs (étoiles, broches, soleils). La cire était utilisée pour les modeler et de leur donner du relief. Le sgraffito et le brocart appliqué permettaient de simuler de riches étoffes en imitant les motifs des tissus à l'aide de feuilles d'or appliquées ou non sur des feuilles d'étain, parfois recouvertes de glacis ou de pigments. L'emploi de ces métaux et techniques s'explique par des raisons techniques, économiques, symboliques ou par souci de réalisme. La feuille d'or, déposée selon différentes techniques, enrichissait les scènes iconographiques.
Due to the lack of availability of raw materials, the blue colour is little used before the 12 th... more Due to the lack of availability of raw materials, the blue colour is little used before the 12 th century in medieval mural paintings. The pallet consists of more accessible pigments such as black (calcination of organic materials), white (lime), and the various nuances from yellow to red obtained with ochre. When blues were used, they were imported from Germany (azurite) or Afghanistan (lapis lazuli). This made these colouring materials expensive and they were reserved for important zones of the painting. The blue colour changes its status in the 12 th century. It settles, in iconography, as the colour of the mantle of the Virgin, which in return conferred to this colour a particular symbolic value. The use and choice of blue pigments was guided by economic constraints, local availability and, naturally, iconographic choices (symbolic relationships, hierarchy of colours).
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